HE 
ECHNIC  OF 
HE  BATON 


By 

ALBERT  STOESSEL 


With  a  Preface  by 
WALTER  DAMROSCH 


CARL  FISCHER 


NEW  YORK 

BOSTON 

CHICAGO 


Th, 


Technic 

of  the 

Baton 


By 

ALBERT  STOESSEL 

Instructor  of  Conducting 

A  t  the  A .  E.  F.  Bandmasters ' 

and  Musicians'  School, 

C.hauniont,  France 


With  a  Preface 

by 

Walter  Damrosch 


boston       CARL  FISCHER,  NEW  YORK     Chicago 

380-382  Boylston  St.  Cooper  Square  430-432  So.  Wabash  Ave. 


Copyright,    1D20 

by 

CARL    FISCHER, 

New   York 


Internationa]   Copyright    Secured 


iviusjc  Uba* 

MT" 
SUA 

PREFACE 


Conducting  is  an  art,  and  a  difficult  one  to  master. 

It  requires  a  special  talent,  enthusiasm,  great  nervous  vitality,  a 
serious  study  of  the  works  written  by  the  masters  of  music,  the  mag- 
netic power  of  forcing  the  executants  to  carry  out  the  conductor's 
demands,  infinite  patience,  great  tenacity,  great  self-control,  and  abso- 
lute knowledge  of  the  technique  of  the  baton. 

The  last  is  a  complete  sign  language  through  and  by  which  the 
conductor  issues  his  commands  and  achieves  his  results. 

With  the  baton  and  an  infinite  variety  of  movements  of  hand,  wrist 
and  arm,  the  conductor  indicates  the  tempo  and  its  changes,  the  dyna- 
mics, the  expression,  and  in  fact  all  the  inner  spirit  and  meaning  of 
the  music. 

He  insures  precision  and  unanimity  whether  his  executants  number 
one  hundred  or  one  thousand,  and  plays  upon  them  as  the  pianist 
upon  his  keyboard  or  the  violinist  upon  the  strings  of  his  Cremona. 

Much  of  this  must  be  inborn,  but  much  can  be  acquired  by  study. 
Mr.  Albert  Stoessel's  book  will  be  of  great  help  to  the  earnest  student. 

Mr.  Stoessel  was  appointed  teacher  of  conducting  in  the  Band- 
masters' School,  which  I  founded  during  the  war  at  General  Pershing's 
request  at  G.  H.  Q.,  Chaumont,  France. 

His  book  is  admirably  planned  and  executed.  It  is  clear,  practi- 
cal and  stimulating,  and  I  hope  it  will  be  generally  used  throughout 
the  country. 

The  lack  of  routine  and  the  ignorance  of  even  the  simplest  rudi- 
ments of  the  art  of  "beating  time"  is  appalling  among  many  of  our 
conductors,  organists  and  choir-masters.  Mr.  Stoessel's  book  should 
be  of  great  help  to  them. 

(Signed)      Walter  Damrosch. 
July  4th,  1920. 


MNIV   OF  CALIF    LIBRARY.  LOS  ANGELES 


AUTHORS   PREFACE 

This  little  book  is  the  direct  outcome  of  a  need  felt  by  the  author  in 
his  capacity  as  instructor  of  conducting  at  the  A.  E.  F.  Bandmasters' 
and  Musicians'  School.  Chaumont,  France.  It  was  the  author's  privi- 
lege to  have  been  able  to  exchange  opinions  on  this  subject  with  Mr. 
Andre  Caplet,  to  whom  he  is  indebted  for  the  idea  of  the  rhythmo- 
gymnastic  exercises  and  many  of  the  gesture-diagrams.  Although  the 
author  could  not  hope  to  treat  so  limitless  a  subject  with  any  measure 
of  completeness,  he  is  nevertheless  convinced  that  the  contents  of  this 
book  will  be  of  value  to  those  seeking  for  guidance  in  the  intricate  art 
of  conducting. 

In  summing  up  the  elements,  both  human  and  mechanical,  which 
comprise  a  modern  orchestra  or  military  hand,  we  must  arrive  at  the 
conclusion  that,  collectively  considered,  these  elements  form  one  huge 
and  many-voiced  instrument.  The  conductor  is  the  virtuoso  who  plays 
upon  this  instrument  and  through  it,  interprets  the  composer's  thought. 
His  art  consists  not  only  of  thoroughly  understanding  the  qualities, 
range,  tone-color  and  limitations  of  the  instruments  individually  and 
grouped,  but  also  the  best  method  of  indicating  to  the  players  of  these 
instruments  his  conception  of  the  composer's  creation. 

To  understand  the  component  parts  of  this  huge  instrument  a 
thorough  knowledge  of  the  theory  of  instrumentation  is  necessary.  The 
ability  to  express  by  gesture  just  what  is  desired  of  the  many  human 
minds  controlling  these  component  parts  or  instruments,  is  by  far  the 
most  complicated  and  important  side  of  the  art  of  conducting. 

fust  as  a  fine  player  can  get  excellent  results  with  a  poor  instrument, 
so  can  a  good  conductor  secure  equally  good  results  with  players  of 
lesser  ability.  On  the  other  hand,  it  is  so  frequently  experienced  that 
the  efforts  of  the  very  finest  group  of  musicians  are  spoiled  by  an  in- 
competent leader. 

The  modern  method  of  conducting  is  of  comparatively  recent  origin. 
In  the  days  of  Haydn  (1732-1809)  and  Mozart  (1756-1791)  the  con- 
ductor's  place  was  at  the  clavicin  or  harpsichord,  and  his  chief  function 
was  to  perform  the  accompaniment  to  the  recitatives  of  the  singers. 


II 


When  the  rhythm  wavered,  the  first  violinist  steadied  the  beat  with  his 
bow,  and  to  this  day  the  solo  violinists  of  orchestras  are  called  leaders 
and  concert  masters. 

As  long  as  the  music  remained  of  a  more  or  less  simple  formal 
nature,  this  method  was  entirely  satisfactory.  But  with  the  coming  of 
Beethoven  and  his  new  and  unexpected  rhythmic  demands,  it  was  found 
necessary  to  have  a  leader  who.  could  devote  his  entire  efforts  to  the 
directing  of  the  correspondingly  more  intricate  rhythms.  The  possi- 
bilities of  indicating  the  proper  interpretation  of  a  musical  composition 
by  gesture  were  soon  perceived,  and  more  and  more  did  the  art  of  con- 
ducting add  to  the  once  simple  process  of  time-beating  until  it  became 
the  means  of  expressing  every  shade  of  nuance  and  every  sublety  of 
rhythm.  The  art  of  conducting  suddenly  became  the  most  important  in 
the  realm  of  interpretative  music  and  naturally  many  great  musicians 
made  it  their  means  of  expression. 

Upon  analysis  we  find  that  the  conductor's  art  may  be  classified  in 
three  basic  phases : 

1.  Mental  assimilation  of  the  musical  composition  to  be  played. 

2.  Practical  knowledge  of  the  orchestra  or  band  and  the  best  means 
of  securing  results  by  proper  rehearsing. 

3.  Actual  interpretation  in  concert  by  means  of  rhythmic  and  ex- 
pressive gesture. 

As  the  first  two  of  these  phases  embrace  the  study  of  music  in 
general  and  instrumentation  in  particular,  we  shall  confine  ourselves  in 
this  treatise  to  the  third  aspect. 

ALBERT    STOESSEL. 

Chaumont,  France, 
Max,  1919. 


in 


TABLE  OF  CONTENTS 


CHAPTER  I 

Preface  by  Walter  Damrosch I 

Author's  Preface II 

PAGE 

The  physical  aspect  of  conducting — analysis  of  arm  and  hand  movements 
used  in  conducting — diagram  of  exercises  for  promoting  control  of  these 
movements — music-examples  illustrating  exercises — illustrations  and  de- 
scriptions of  the  positions  in  each  of  the  four  styles  of  fundamental  move- 
ments        1 

CHAPTER  II 

The  general  attitude  of  the  conductor — twelve  general  rules — left-hand 
signals — illustrations  of  the  five  fundamental  positions  used  in  actual  con- 
ducting          24 

CHAPTER  III 

Diagrams  of  gestures  used  in  conducting — music  examples — explanatory 
note — fundamental  method  of  beating  2/2,  2/4  time — actual  method  of 
beating  2/2,  2/4  time — normal  subdivision  of  2/2  and  2/4  time — accented 
subdivision  of  2/2  and  2/4  time — 6/4  or  6/8  time  (modern  method)  — 
6/4  or  6/8  time  (older  method) — fundamental  method  of  beating  3/2,  3/4 
or  3/8  time — actual  method  of  beating  3/2,  3/4  or  3/8  time — normal  and 
accented  subdivision  of  3/2,  3/4  or  3/8  time — 9/8  time — fundamental  and 
actual  method  of  beating  4/2,  4/4  or  4/8  time — normal  and  accented  sub- 
division of  4/2,  4/4  or  4/8  time— 12/8  time— 5/4  or  5/8  time— 7/4  or 
7/8  time 31 

CHAPTER  IV 

The  "attaque" — the  "pause" — employment  of  subdivision  to  emphasize  and 
give  weight  to  certain  characteristic  passages,  ritardandi,  etc. — the  sharply 
accented  beat  as  a  means  of  securing  precision  in  syncopated  passages — 
indication  of  breathing  places  or  the  beginning  and  termination  of  a  phrase 
— extract  from  Berlioz's  treatise  on  conducting — on  the  conducting  of 
waltzes 55 

APPENDIX 

The  bandleader  as  instructor  of  his  band — the  training  of  the  individual 
player — the  training  of  the  band  as  a  unit — the  study  of  four-part  chorals 
to  promote  good  intonation  and  a  strong  embouchure — study  of  standard 
repertoire — a  few  hints  on  rehearsing 81 


CHAPTER  I 

This  chapter  is  devoted  entirely  to  the  physical  aspect  of  con- 
ducting. Analysis  of  the  gestures  used  in  conducting  has  shown 
that  there  are  four  fundamental  movements. 

A — Wrist  movement  in  horizontal  position.  (With  palm  of  the 
hand  facing  downward.) 

B — Wrist  movement  in  vertical  position.  (With  palm  of  the 
hand  facing  inward.) 

C — Fore-arm  movement. 

D — Full-arm  movement. 

The  diagrams  on  pages  4  and  6  represent  a  set  of  exercises  for 
the  acquiring  of  complete  control  and  suppleness  of  the  wrist  and 
arm  in  all  these  four  movements.  On  the  opposite  pages  sets  of 
music  examples  may  be  found.  Each  individual  note  of  these  examples 
represents  a  movement  of  the  wrist  or  arm. 

The  conscientious  study  and  practice  of  these  exercises  will  not 
only  fully  prepare  the  conductor  for  the  more  complicated  beating 
of  time-indications,  but  will  give  him  that  poise  and  confidence 
which  come  only  with  a  consciousness  of  absolute  self-control.  This 
physical  self-control  is  one  of  the  greatest  essentials  in  the  art  of 
conducting:. 


■&• 


DESCRIPTION  OF  EXERCISES 

There  are  two  series  of  exercises,  each  numbering  24  figures. 
These  are  to  be  performed  in  four  different  styles,  corresponding 
to  the  four  fundamental  movements. 

A — Wrist  movement  in  horizontal  position. 
B — Wrist  movement  in  vertical  position. 
C — Fore-arm  movement. 
D — Full-arm  movement. 

For  each  style,  there  are  four  different  positions  which,  for 
practical  reasons,  have  been  named  alter  the  points  of  the  com- 
pass; North,  South.  Easl  and  West.  The  photographs  contained 
in  this  chapter  are  of  the  four  different  positions,  lor  each  style  of 


exercise.  In  the  diagram  of  exercises  each  of  these  positions  is 
indicated  by  a  letter;  X — for  North,  S — for  South,  E — for  East,  and 
W— for  West. 

The  small  letter  in  the  upper  left   corner  indicates  the  starting 
point.    The  other  letters  indicate  the  points  of  arrival. 

Each  figure  is  to  be  executed  in  time  with  certain  music-examples 
of  which  each  individual  note  corresponds  to  a  point  of  arrival. 

For  instance,  figure  1  would  he  executed  with  Music  Ex.1 
thus  : 


Pi 


m 


*r^  ^r^  rf^" 

South  position  corresponding  to  the  note  C. 
North  position  corresponding  to  the  note  G. 

The  */  on  a  letter  indicates  a  sharp  forceful  movement  as  op- 
posed to  a  more  relaxed  motion.  In  the  exercises  for  the  wrist,  the 
fore-arm  and  upper-arm  must  remain  motionless.  Likewise,  the 
fore-arm  movement  must  be  executed  without  moving  the  upper 
arm. 

Great  caution  should  be  taken  not  to  over-tire  the  wrist  and 
arm,  when  first  practising  these  exercises. 

These  exercises  are  to  be  practised  by  the  right  and  left  arm 
alternatively. 

It  is  suggested  for  the  individual  practise  that  the  student  place 
the  music  examples  on  one  side  of  the  music  stand  and  the  diagram 
of  the  exercises  on  the  other. 

Thus  he  may  describe  the  gymnastic  exercises  while  singing  or 
whistling  the  music. 


MUSICAL    EXAMPLES    FOR    GYMNASTIC  EXERCISES 


Series  1 


Ex 


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J.        J.- 


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Series   1 


Fig.  1 


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NOTE  :—    Each  individual  note  corresponds  to  a  gesture  indicated 

in  the  figures  by  a    N,   E,  S,  W. 


Series     2 


Fig.  I 


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Fig. 

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The  letter  in  the  upper  left  corner 
indicates  the  starting'  point. 


N  —  North   Position. 

W-  West     Position. 

S    —  South    Position. 

E  —  East     Position. 


Illustrations  and  Descriptions  of  the  Positions  in  Each  of 
the  Four  Styles  of  the  Fundamental  Movements 


4N,'  or  North  position  of  Style  A 


1.  Drop  arm  loosely  to  side. 

2.  Raise   forearm  forward   until  it  forms  a  right  angle  with   the  upper  arm. 

3.  Extend  hand  and  fingers ;   keep  the  palm   facing  downwards. 

4.  Without  moving  the  arm,  raise  the  hand  from  the  wrist-joint  until  almost  at  a  right 
angle   with   the   forearm. 

Note. — The  forearm  maintains  this  position  all  through   the  exercises  of   Style  A. 


8 


'S,'  or  South  position  of  Style  A 


Without  moving  the  forearm,  lower  the  hand  from  the  wrist-joint 
until  at  a  right  angle  with  the  forearm. 


'E,'  or  East  position  of  Style  A 


Without  moving  the  forearm,  and  always  keeping  the  fingers 
extended  and  palm  downward,  move  the  hand  to  the  right  as  far  as 
possible. 


10 


'\V7  or  West  position  of  Style  A 


Without  moving  the  arm,  and  always  keeping  the  fingers  extended 
with  the  palm  downward,  move  the  hand  to  the  left  as  far  as  it  will  go. 


11 


kN,'  or  North  position  of  Style  B 


1.  Drop   arm   loosely   to   side. 

2.  Raise  forearm  forward  until  it  forms  a  right  angle  with  the  upper  arm. 

3.  The   fingers   remain    extended    and   the   palm    is   turned    so   that   the   thumb   is   upper- 
most. 

4.  Without    moving    the    forearm,    raise    the    hand    as    far    as    possible,    taking    care    to 
keep  the  fingers  extended  and  palm  inward. 

Note. — The   forearm   maintains   this  position   throughout   the   positions   of   Style   B. 

12 


'S,'  or  South  position  of  Style  B 


Without  moving  the  arm,  lower  the  hand  as  far  as  possible,  taking 
care  to  keep  the  fingers  extended  and  palm  inward  (facing  to  the  left). 


13 


'E,'  or  East  position  of  Style  B 


Without  moving  the  arm,  point  the  hand  and  fingers  to  the  right 
until  almost  forming  a  right  angle  with  the  arm. 

14 


YV,'  or  West  position  of  Style  B 


Without  moving  the  arm,  point   the  hand  and   fingers  to  the  left 
until  almost  forming  a  right  angle.    The  thumb  still  remains  uppermost. 


15 


N,'  or  North  position  of  Style  C 


1.  Drop   arm   loosely   to   side. 

2.  Raise  forearm  forward  until  it  forms  a  right  angle  with  the  upper  arm. 

3.  The   palm   is   turned   down. 

4.  Without   moving    the   upper   arm,   raise   the   forearm    upwards   until    the    back    of   the 
hand  almost  touches  the  shoulder. 

Note. — The   upper   arm   maintains   this   position    throughout   the   exercises   in    Style    C. 

16 


'S,'  or  South  position  of  Style  C 


Without  moving  the  upper  arm,  lower  the  forearm  until  the  palm 
of  the  hand  is  about  3  or  4  inches  from  the  thigh. 


17 


'E,'  or  East  position  of  Style  C 


Without  moving  upper  arm,  turn  the  forearm  to  the  right  about  40 
degrees. 


18 


'W,'  or  West  position  of  Style  C 


Without  moving  upper  arm,  turn  the  forearm  to  the  left  about  40 
degrees,  the  palm  of  the  hand  facing  forward. 


10 


'S,'  or  South  position  of  Style  D 


Lower  arm  downward  until  the  palm  is  about  4  inches  from  the 
thigh. 

NOTE. — All  motions  in  Style  'D'  are  described  by  the  full  arm. 


20 


'W,'  or  West  position  of  Style  D 


Turn  arm  to  the  left  about  40  degrees. 

21 


'E,'  or  East  position  of  Style  D 


Turn  arm  to  the  right  about  40  degrees. 

22 


'N,'  or  North  position  of  Style  D 


1 

J 

|| 

l^m 

3fe, '                                  1 

1  ■> 

14* ' 

B>  **■■ 

^^■^^^ 

(I7 

W 

Raise  arm  upwards  with  palm  forward  and  fingers  extended. 


22 


Chapter  II 

The  General  Attitude  of  the  Conductor 

1.  The  general  attitude  of  the  conductor  must  be  one  of  quiet,  but 
commanding"  dignity. 

2.  He  must  not  only  know  what  lie  wants,  but  he  must  be  able  to 
convev  this  knowledge  to  his  orchestra  or  band  by  a  minimum 
of  gesture. 

3.  I  lis  body  must  be  as  firm  as  the  proverbial  mighty  oak,  whidi 
only  sways  in  the  fiercest  storm.  The  orchestra  or  band  must 
never  become  unconscious  of  the  fact  that  the  conductor  sees, 
feels,  and  hears  everything  that  goes  on. 

4.  The  head,  knees  and  feet  must  remain  especially  quiet. 

5.  The  length  of  the  arm  movement  varies  very  necessarily  with 
the  length  of  the  individual  arm.  The  increase  or  decrease  in 
the  tempo  also  calls  for  changes  in  motion.  A  quick  tempo  is 
conducted  with  a  much  smaller  motion  than  a  slow  tempo. 
Often  the  contrast  of  <lFF"  and  "PP"  is  indicated  by  changing 
from  large  to  small  motions. 

6.  There  are  three  degrees  of  muscular  control:  (1)  Relaxed; 
(2)  Firm;  (3)  Stiffened  or  Locked.  In  conducting,  the  first 
two  are  mostly  used. 

7.  All  gestures  must  be  directed  by  the  hand  or  forearm.  That 
is  to  say,  the  center  of  the  motive  power  must  seem  to  be  in 
the  hand,  which  draws  the  rest  of  the  arm  after  it. 

8.  The  baton  must  not  be  held  stiffly,  as  this  would  effect  the 
suppleness  of  the  whole  arm.  It  must  serve  as  a  sort  of 
extended  finger. 

9.  The  role  of  the  left  arm  is  very  difficult  to  accurately  describe. 
Altho  it  plays  a  more  modest  part  than  the  right  arm,  it  is 
nevertheless  of  the  greatest  importance.  It  must  ever  be  ready 
with  preventive  motions,  indications  of  instrumental  entrances, 
and  to  add  force  to  certain  heavily-accented  movements  of  its 
neighbor.  But  let  it  here  be  said  that  the  habit  of  conducting 
constantly  with  both  arms  describing  the  same  motions  is 
about  as  foolish  and  ill-advised  as  anything  can  be.  Should 
the  conductor  be  left-handed,  this  paragraph  will  pertain  to 
his  right  arm. 

10.  It  must  not  be  forgotten  that  it  is  possible  to  beat  time 
accurately  and  still  use  uneven  and  un-rhythmic  motions.  The 
greatest  care  must  be  taken  to  move  from  one  beat  to  the 
other,  in  a  manner,  measured  and  symmetrical. 

11.  In  a  very  slow  movement,  accuracy  can  be  obtained  by  ending 
each  movement  with  a  sharp  wrist  motion  in  the  same  direction 
as  the  arm  movement. 

12.  Altho  general  rules  in  conducting  are  extremely  hard  to  lay 
down,  it  might  be  suggested  that  the  principle  of  indicating 
each  accent,  entrance,  sudden  forte  or  piano,  one  beat  ahead 
be  adhered  to, 

24 


Left  Hand  Signals 

1.  "pp"  (Pianissimo)  is  indicated  by  extending  and  raising  the  left 
arm  slightly  with  the  hand  at  the  level  of  the  shoulder,  palm 
downward. 

2.  "p"  (Piano)  is  indicated  by  raising  the  left  forearm  until  the 
back  of  the  hand  is  directly  in  front  of  the  left  shoulder. 

3.  Code  Sign — Raise  left  arm  above  the  head  with  one  finger  ex- 
tended. 

4.  Second  Ending — Raise  left  arm  above  the  head  with  two  fingers 
extended. 

5.  To  stop  in  middle  of  strain — Raise  left  arm  above  head,  with  all 
the  fingers  extended,  and  keep  it  there  until  halt  is  desired.  At 
this  point,  bring  it  down  firmlj  and  quickly. 


25 


The  five  photographs  which  illustrate  the  live  fundamental 
positions  used  in  actual  conducting 


No.  1.     Preparatory  position.     4/4  time. 


26 


Number  2 


Position  of  the  first  beat  in  4/4  time. 

27 


Number  3 


Position  of  the  second  beat  in  4/4  time. 

28 


Number  4 


Position  of  the  third  beat  in  4/4  time. 

29 


Number  5 


••; 


Position  of  the  fourth  beat  in  4/4  time. 

30 


31 

CHAPTER   III 

Diagrams  of  Gestures  Used  in  Conducting 


The  music  examples  are  to  illustrate  the  use  of  the  ges  - 
ture  and   have  been  found  practical  for  class  work. 

In  practising  these  gestures  with  the  music  examples,  the 
movement  must  always  be  expressive  of  the  character  of  the 
music. 

Sharp  and   energetic    movements   for  music  of  an  accentu- 
ated   character,  and  moderate,   gentle   movements    for  music    of 
a   corresponding    nature. 

The  accent  is  executed  by  a  sharp  quick  arm  movement. 
Great  care  must  be  taken  to  execute  each  movement,  even 
the   most   gentle   pianissimo,   clearly   and  with  authority. 


In  all  the  diagrams  the  following  principles  are 

maintained 


1  —    The   heavy  or  accented  beat  is   indicated  by  a  dark  arrow. 

2  —    The  light   or  unaccented   beat   is   indicated  by  an  unshad- 

ed    arrow. 

3—    The    semi-accented   beat    is    indicated    by  a  semi-shaded 
arrow. 

4  —    All  subdivisions    are    indicated   by   dotted   lines. 

5—    The    fundamental    beats    are    described    with    the  arm 

movement,   while    subdivisions   are  performed    with  the 

wrist.     In  this    manner,    a    very  clear    indication    of  the 
fundamental    beat   is   always    maintained. 

21788- 


■32 


1st  beat  begins  here  T 


1st   beat   ends  he 


re      T 


Jy     2nd   beat  ends 
here 


Q 


2nd  beat  begins 
here 


DIAGRAM   N?1 


Fundamental    method  of   beating  2/'Z,     /4    time. 


33 


2 

A 


DIAGRAM   N?2 


Actual    method  of  beating    a/2  and  2A  time. 


21788- 


■M 


EXAMPLE    N?  1   for  DIAGRAM   N9  2 


Moderato 


-rr 


m 


PP 


P 


fe£ 


^ 


§£=» 


¥ 


£ 


^ 


S 


:Sz 


? 


£ 


5 


s 


i 


£ 


^ 


i 


f 


P 


m 


Accented  1st  beat:-      ft)  I      I    7  ^  [  J     7  «M  J     7  JT 


±    etc. 


Accented  2nd  be 


at:-      g)   j   y  I 


5^ 


in 


=F 


etc. 


35 


and 


DIAGRAM    N?  3 


Normal    subdivision  of     %  and    /4  time. 


21788- 


:?6 


EXAMPLE    No  2  for  DIAGRAM    N?  3 


Adagio 


£==^ 


r  ~ — r 


«=# 


or 


B 


4  ~*  S 


J^  # 


fee 


Q.J  injjinni 


$  jJTj'J 


S 


« 


*^~ 


B*     fr>  B 


Moderato 


fggfrmWi  mJXt 


p^ 


sj-»>y 


frfr  i  cfr  fl?  i  ^3  IP 


fez=R 


Allegretto 


^ 


*=£ 


H      a  l 


I 


£--** 


— < 

and 


and 


This  form   of  six  eight    time   is   indicated    in  the  above  man- 
ner. 


37 


and 


DIAGRAM    N9  4 


Accented  subdivision  of    ^2  and    /k  time. 


EXAMPLE  N9  3  for  DIAGRAM   N9  4 


Andante 


J"    jW^iPLfiufrir 


% 


7^ 


ta 


U  ^r  I  ge 


^ 


^^ 


/JJ !  J  1/Tj  i  i 


4  pJP\P^\}tnjru 


21788- 


38 


DIAGRAM    N?   5 


6A  or    G/8  time.    (Modern  French  Method)    ^4  or    6/8  time 
is    a     subdivision  of   */%  or    /*k  time. 


39 


DIAGRAM   N9  5a 

Old  method  of  beating  slow    Q/8  time. 

The  disadvantage  of  this  method  is  that  the  6th  beat  is  out 
of  proportion  with  the  others.     In  diagram  N9  5  the  long  beat 
comes  on  the  4th  or  naturally  accented  beat  of  the  measure, 
whereas  in  5a  the  6th  or  last  beat  in  the  measure  is  apt  to  be 

unduly  accented. 


21788- 


40 


EXAMPLE   N?  4  for  DIAGRAM   N?  5  and  5a 


Slowly 


$&i  r^ijTiJflijnJXiiqD 


j'1'  uTILj- 1 1  iTljj- i -^  rr  i -g:.' j-  i 


A-  With  accent  on  1st  beat,    .(k  \>\>  %    |7]J4^  —  """JJjj^ 


B—  With  accent  on  2nd  beat. 


f''i.;s  $np\]fim 


C—  With  accent  on  3rd  beat. 


f  V'i  $l$\$l&\ 


D—  With  accent  on  4th  beat. 


j^jjffijjaff 


E  —  With  accent  on  5th  beat. 


^HjffljjJ^ 


F-  With  accent  on  6th  beat,     fe  gig      1  J3J^J  :  J  JJJ^.- 


G  —  With  accent  on  1st  and  4th 
beat. 


-fvi;  j.Jfflijflfll 


41 


i^2 


DIAGRAM  N?  6 
Fundamental    method  of  beating  3/2,  3/4    or    3/8  time. 


DIAGRAM  N?  7 
Actual    method  of  beating    3/2,    3A   or    3/s  time. 


21788- 


4'J 


EXAMPLE   NO  5  for  DIAGRAM   N°  7 


Moderato 


^ 1 8  j j ,i I  Tr I fJ> I rTf  h^S 


if 


X 


P^P 


£ 


3 


gPS^ 


^^ 


*=# 


B— With  accent  on 
1st   beat. 


#s 


Allegro 


yyrjvr 


s 


i 


C  — With  accent  on 
2nd  beat. 


J1 1 ;  i'  2r,i  h  h  '  i1  ' ri 


D— With  accent  on^ 
3rd  beat. 


=2= 


W 


EE5 


m 


& 


E—  Accent  on 
and  3rd  beat. 


Mazurka  -  Tempo  di  Mazurka 
=3= 


tet:jnr  j.Jj77yrJTjT37i^n 


F  — Waltz—  Acce 
1st  beat 


Tempo  di  Valse 


Polonaise 

G  — Accent  on  all 
3  beats. 


P 

Tempo  di  Polacco 


1 


rvnrp 


^i  i  ^^| 


43 


and 


fiand 


DIAGRAM   N?  8 
Normal   subdivision  of     /2,     /4  or     18  time. 

EXAMPLE   N?  6   for  DIAGRAM    N?  8 


i 


Slowly 


1 


m 


j  *m* 


** 


+-* 


21788  - 


44 


and 


and 


DIAGRAM   N?  9 
Accented  subdivision  of    3/2,    3A   or    %  time. 


EXAMPLE   N?  7  for  DIAGRAM    N?  9 


Slowly,  but  with  energy 


^rnjrm  j  i  r  3  0  m 


$*t-n  jtjjt]  \i:Pus  ^  VTi ' 


P*  n^fr 


45 


DIAGRAM  N9  10 
/8  Time.    Only   for  very    slow   tempos.    Otherwise,  beat  3 


EXAMPLE   N?  8  for  DIAGRAM  N?  10 


Adagio 


l»  I^rrr  r<r  r  @ii  M  r 


4^W&ttflfi^\P2Urtfi 


4 


Cj}i  CT  [_c_f  r^r  r  i^ 


21788  - 


46 


£>3 


DIAGRAM   NO  11 
Fundamental  method  of  beating  V2,    4/4  and    Vs  time 


DIAGRAM  N9  12 
Actual   method  of  beating    Vs,    4A   and    Vs  time. 


47 


EXAMPLE   N°  9  for  DIAGRAM   N?  11 


Moderato 


i 


B  <*. 


m 


? 


f 


^  r  g 


a  r  r  J  J  Ik  J  J  J  I J  J  rJ 


rr J^  ir 


£ 


*=s 


A— With  accent  on  1st  beat.    (M  Z  1;  EEj 


^Pf 


*=-* 


g 


B— With  accent  on  2nd  beat. 


^'-i,  ^jj^j^l^ 


C-With  accent  on  3rd  beat,  (k  5     J       K7  j       J  J    JV  J-  ^h 


D— With  accent  on  4th  beat. 


mm 


w^ 


£E 


i 


E-With  accent  on  1st  and  Srdjf  l1*!       I        i.  .         I      I       h  t- 

beat.  g>  g     j'     JU.  J)»     J"    Eg    p 


21788  - 


48 


4      and 


and 


DIAGRAM  N9  13 
Normal    subdivision  of    72,    V4  and     /&  time. 

EXAMPLE  N?  10  for  DIAGRAM  N?  13 


$ 


Adagio 


J  g  S  PI 


I J  J  J  J  J 


-*-* 


BE 


JTJ1 .  i  j  1 1  tuj  JTJ]  | 


49 


and 


and 


DIAGRAM  N?14 
Accented  subdivision  of    72,     /4   and    78  time. 

EXAMPLE  N?  11  for  DIAGRAM  N?  14 


Slowly 


^3 


m 


ju.jj.jjjj 


•      m  • 


f 


"k^'\>  J~?3"3JJJJir3T]JJj  Ji l£.rj**^'lii 


$ 


p 


s 


Si 


gzd: 


21788- 


50 


DIAGRAM  N9  15 

12/4   or  13/8  time. 

v8   time  is  really  a  subdivision   of   74   time. 


EXAMPLE  N?  12  for  DIAGRAM  N?  15 


Adagio. 


^is> « .m _r  h JJJ c£r  i r cr r cr -r^ ■rn ' 


M>= 


s 


^jWQ7 


iSBfesefii 


51 


5^4 


DIAGRAM  N?  16 

5A    or    5/s    time. 

This   5/4  or  5/8  time  is  a  compound  rhythm  of  2^3  or  2-3  time 

4  8 


EXAMPLE   N9  13  for  DIAGRAM  N9  16 


Allegretto 


5     I       |       ==z: 


r>  I  a 


1 1 1  ■  wg 


i 


■     i 


P 


I 


-f5> <S^- 


21788- 


52 


DIAGRAM    N?  17 

%  or    5/i  time. 

This  °/8  or  °/4  time  is  a  compound  of  3-2  or  3-2  time. 

8  4 


EXAMPLE  N?  14  for  DIAGRAM  N?  17 


I 


1 


Allegretto 
5      II    |~ 


■#-*: 


3 


53 


Vl  time. 


3-4   or   3-4  time. 
4  8 


DIAGRAM  N?  18 


EXAMPLE  N9  15  for  DIAGRAM  N9  18 


Eg  k  J-  pr  j  i   l/i   r  §   > '  !   E 


r~rij  ;j^j  j  i  j^TV 


21788 


54 


Vs   or    7A  time. 

3-4   or  3-4  time. 
4  8 


DIAGRAM  N?  19 


EXAMPLE  N?  16  for  DIAGRAM  N?  19 


j'UJJjJPff 


r  r  J~flffii 


* 


i 


iff^?  i  ri7  j  jmf 


* 


C  r  f  r  r 


s: 


P^P 


55 


CHAPTER   IV 


1.  The    'attaque' 

2.  The    'pause' 

3.  Employment  of  subdivision  to  emphasize  and  give  weight 
to  certain  characteristic  passages,    ritardandi,  etc. 

4.  The  sharply  accented  beat  as  the  means  of  securing  pre- 
cision  in  syncopated   passages. 

5.  Breathing  places.       (Indication    of). 

6.  Extract   from    Berlioz's  Treatise  on    Conducting. 

7.  On  the    Conducting  of    Waltzes    of    Strauss    and    Wald- 
tenfel. 


21788 


56 


Chapter   N?    IV 


The    "Attaque" 

One  of  the  most  important  and  difficult  results  for  a  con- 
ductor to  obtain  is  a  clean-cut  and  united  attaque, or  start,  on 
tite  part  of  his  instrumentalists.  The  following  suggestions 
will  give  the  key  to  an  easier  achievement  of  this  result. 

EXAMPLE    I 

When  the  musical  subject  begins  directly  on  the  first  beat 
of  the  measure,  one  beat  before,  given  in  the  rhythm  of   the 
following  measures  and  in  the  position  of  the  last  beat  in  the 
measure,  will  suffice  to  assure  a  concerted  and  clean-cut  at  - 
taque.      The  following  measures,   from  the  PRELUDE      TO 
THE    MASTERSINGERS    by    WAGNER,   illustrate     this 
principle. 


etc. 


Moderato    molto 


5 


i  nn\ 


3 


j   molto   vigoroso  e  tenuto 


57 


(B)  When  the  musical  subject  begins  on  the  last  beat  of  the 
measure,  give  the  preceding  beat,  first.  This  beat  should  be 
less  marked  than  those  following. 

Overture  to  Tannhauser  -  Wagner 


ate 


i 


ibfefc 


3 


E 


S 


r 


*# 


s 


^^ 


j    i    i 


ttk  J       -J^sd 


r     r     r 


r 


NOTE 


Many  modern  conductors  dispense  with  this   preceding 
beat.     However,  it  is  extremely  valuable  in  establishing 
the  rhythm  and  helpful  to  less  experienced  orchestral  or 

band  players. 


21788- 


58 


(C)  The  principle  of  the  preceding  example  is  also  applicable 
to  cases  in  which  the  musical  subject  begins  on  any  fraction  of 
the   beat. 

EXAMPLES 
Marche   Hongroise  -  Berlioz 


ii 


ii 

0    4 


Allegro   moderato 
Trumpets 


\ 


3£ 


4    4    4 


f 


uu 


3       az 


i   m 


segue 


i 


i       g 


segue 


segue 


segue 


segue 


,i 


a  a 


1 


3: 


4   4    &' 


:m 


-o- 


*rf 


-S>-i- 


a 


59 

(D)  In  a  special  case,  like  the  beginning  of  theAllegro  in  the 
Overture  to  Tancredi  by  Rossini,  it  is  best  to  beat  out  ,  the 
entire   measure,   in  which  the  phrase  enters. 

Overture  to   Tancredi  -    Jtossini 


-<j?m 


$ 


Se 


r\ 


i    i  7  i> 7 


i 


# 


3^S 


5 


b .b 


i'y  t  i 


i 


£ 


g  V     3=?= 5 


At  'A"  beat   1,  2,  3,  4,  the  phrase  commencing  in  the  3rd  beat. 


21788- 


60 


In  a  case  where  the  time  is  "one"  in  a  meaure,  and  the  mus- 
ical subject  begins  on  a  fraction  of  the  measure,  beat  one  whole 

measure   before. 

EXAMPLE 


Symphony    Pastorale  -  Beetho 


ven 


f 


0/ 

t  I J 


y 


J  J  J 


i 


Allegro  J.  =  108. 


IE 


m 


m 

pp 


k 


X) 


J  J  J 


0 


J  J  J 


segue 


segue 


segue 


segue 


;n  r  rr 


^ 


if 


35 


2 


^ 


f 


etc. 


61 


Notes  sustained  by    '  The    Pause" 


2-  (A) 

Beat  the  beginning  and  termination  of  the  note   when     it 
is  not  a  part  of  a  phrase.     It  is  always  well  to  mentally  count 
and  determine  the  length  of  a  note  held  by  a  pause. 

1—    Indicates  the  beginning  of  note. 
2  —    Indicates  ending  of  note. 

There  must  be  a  distinct  stop  between  these  notes. 


A 


v 


i 


Du 


I 


.—._  —  —  —  ~1 


/?\ 


"c 


i 

V 

/    \ 


I 


^T=^ 


-»- 


:& 


<> 


o 
o 


5S 


3 


BE 


S 


/T\ 


TT 


21788- 


62 


(B)  When  the  pause  is  on  a  note  which  is  a  part  of  a  phrase, 
sustain  the  note  by  delaying  the  beat  upon  which  the  pause 
appears. 


Ill 


63 


SUBDIVISION 

Employment  of  the  "subdivision"  to  emphasize  and  give  weight 
to  certain  characteristic  passages,    ritenuti,    etc. 


By  subdividing  the  beats  in  the  fourth  measure  of  the  follow- 
ing example,  force  and  accent  are  given  to  the  phrase. 

Ninth     Symphony  -    Beethoven 


Allegro! 


ii 


®  ^ 


ma  non  troppo,  un 


n 
0    k 


poco  maestoso 


21788- 


64 


The  sharply  accented  beat  as  a  means  of  obtaining  precision 
in  syncopated  figures. 

By  accenting  the  first  and  third  beats  of  measures    6  and     7 
of  the  following  example,  a  certain  lingering  on  the  tied  notes 
will   be  avoided. 

Prelude  to  "The    Mastersingers"  -  Wagner 

q\  do  Ice 


$ 


flJ^ 


w 


£ 


&3 


ggi 


m 


i 


m 


dolce^ 


piii  p  di?n. 


Cello. 


S 


i 


^ 


£ 


j^gaahSB 


P! 


i 


r 


©     © 


Viol. 


^  /    ~r~poco  rail. 


fe§ 


5      a  'lUf     B 


if* 


^ 


jfTjgk  *TO 


piu  p 


1 


J  ■  JT^l 


r 


I  II  III  IV 

J     J    J     J 

Tempo        


r 


© 


$  ''f^  ?  fer 


cresc. 


m 


i 


t*t 


i 


*iCj 


^ 


rfcccrrD:f-f  I 


© 


65 

To  indicate  places  for  taking  breath,  conduct  in  the  man- 
ner described  below.  The  arm  movement  must  come  to  a 
complete   stop  just   before   the  breathing  place. 


m 


Moderato 


S 


21788- 


66 

Extract  from   Hector      Berlioz's  Treatise  on  Conducting 

Hector  Berlioz,  in  his  book  on  conducting,  gives  some  very 
splendid  suggestions  for  the  conducting  of  complicated  pass- 
ages, An   extract  is  given   here. 

'A  dilemma  sometimes  presents    itself  in  a    score    when 
certain  parts    are  given,   for  the   sake   of   contrast,     a    triple 
rhythm    while    others   preserve  the  dual  rhythm. 


Andante 


No   doubt,  if  the    wind    instrument    parts  in  the   above  ex- 
ample   be   intrusted    to  players   who  are  good  musicians,  there 
will   be  no   need   to  change    the   manner   of    marking  the    bar, 
and   the  conductor   may  continue  to  subdivide   it  by  six,       or 
to    divide   it    simply   by  two;    the    majority    of    players,  how- 
ever,   will    hesitate     at  the     moment    the    triple    rhythm  in- 
tervenes   amidst    the    dual    rhythm,  requiring  assurance, 
which   can   be  given    by  this     means.    The  uncertainty      oc- 
casioned   them  by  the  sudden    appearance     of   this   unex     - 
pected    rhythm,  and    which   the    rest    of  the    orchestra    con  - 
tradicts,   always    leads  the  performers    to    cast    instinctively 
a  glance    towards   the    conductor,  as  if   seeking    his    assis    - 
tance.     He    should    also   look    at  them    turning  rather  towards 
them,    and      marking,  by    very    slight    gestures    the 


67 


triple   rhythm,  as  if  there  were  really  three  in  a  bar,  in  such    a 
way  that  the  violins    and  other  instruments   playing  in   dual 
rhythm,  may  not   observe   this    change,  which    would       put 
them   out.     From    this    compromise,  it  results    that    the    new 
rhythm   of  three -time    being   marked    furtively  by  the    con- 
ductor, is  then  executed   with   steadiness;  while  the  two-time 
rhythm,  already    firmly  established,   continues    without  diffi- 
culty,   although    no  longer  indicated   by  the  conductor  .     On 
the  other  hand,  nothing,  in   my   opinion,  can  be   more    blam- 
able  or  more  contrary  to    musical  good  sense,  than  the  ap- 
plication   of  this   procedure   to  passages  where  two    rhythms 
of  opposite  nature    do  not  co-exist;  and    where  merely    syn- 
copations  are  introduced    The    Conductor,  dividing  the    bar 
by  the  number  of   accents  he  finds  contained  in   it,  then  de- 
stroys (for  all  the   auditors    who  see  him)  the  effect    of   the 
syncopation;  and  substitutes  a  flat  change    of  time, for  a  play 
of  rhythm  of  the    most  bewitching  interest.  This    is       what 
takes  place,  if  the  accents   be  marked,  instead  of  the    beats, 
in  the  following    passages   from    Beethoven's    Pastoral   Sym- 
phony. 


# 


I  II 

Andante 


HI 


IV 


VI 


itES 


ir 


8: 


21788- 


68 


II 


III 


IV 


Andante 


$ 


b=I& 


ir 


& 


This   voluntary  submission  to  rhythmical   form  which  the  au- 
thor intended   to  be  thwarted    is  one    of  the  gravest  faults    in 
style   that  a  conductor  can  commit. 

There  is  another  dilemma,  extremely  troublesome  for  a  con- 
ductor and  which  demands  all  his  presence  of  mind.  It  is  that 
presented  by  the  super- addition  of  different  bars.  It  is  easy    to 

conduct  a  bar  in  two  dual  times   placed  above  or  beneath     an- 

» 
other  bar  in  two  triple  times, if  both  be  in  the  same   kind      of 

movement;  they  are  then  equal  in  duration,  and  there  needs  only 

to  divide  them  in  half,  marking  the  two  principal   beats. 


# 


Allegro 


* 


1 


I 


E 


ms 


r     p  i 


^p^ 


§ 


*=* 


■K-^- 


But  if,  in  the  middle  of  a  piece  slow  in  movement,  there  be 
introduced  a  new  form,  brisk  in  movement,  and  if  the  composer 
(either  for  the  sake  of  facilitating-  the  execution  of  the  quick 
movement,  or  because  it  was  impossible  to  write  otherwise) 
has  adopted  for  this  new  movement  the  short  bar  which  cor- 
responds with  it,  there  may  then  occur  two  or  even  three 
short    bars    super- added  to  a  slow  bar. 


69 


N9  1 


a 


Andante 


ggjgg 


i§ 


1 


a 


a 


Ne  2  Allegro 


^^N 


iM 


wm 


Sempre  Andante 


S 


Z 


7 


N9  3 


The  conductor's  task  is  to  guide  and  keep  together     these 
different  bars  of  unequal  number  and  dissimilar  movement.  He 
attains  this,  by  commencing  with  dividing  the  beats    in     the 
"andante"  bar    No.  1,  which  precedes  the  entrance  of  the  Alleg- 
ro in     6/s,  and  by  continuing  to  divide  them  still;  but  taking 
care  to  mark  this  division  yet    more.     The  players  of  the('alleg- 
ro"  in    6/8,  then  comprehend  that  the  two  gestures  of  the  con- 
ductor represent  the  two  beats  of  their  short  bar,     while    the 
players  of  the   "andante"  take  these  same  gestures  merely  for 
a  divided   beat  of  their  long  bar. 


21788- 


70 


This,   it  will  be  seen,  is  quite  simple,  because  the  division 
of  the  short  bar,  and  the  subdivisions  of  the  long  one,  mutual- 
ly correspond.      The  following  example,  where  a  slow  bar    is 
superadded  to  the  short  ones,  without  this  correspondence  ex- 
isting,  is  more  awkward. 


* 


Hautboy    k\ 


£sbs£ 


iL     J 


r  r   i  rj 


& 


Allegro  assai 

Violas 


us  us '  r  p  r  p  i  Lu  rj 


^ 


* 


Allegretto 


i 


doubly  slow 


£ 


* 


N9  1 


NQ  2. 

Maintain  in  the  same  movement 


V^^ 


B 


1 


a 


a-^—i:^-! — ■ 


i 


fag 


i 


i 


i 


N?3 


1 


s 


£ 


s 


5i:  I  J    .S=jj 


IZ13HZ3!] 


j>OirTr 


^^ 


g 


i 


IK    ^  iWJ>'i:i-'JddJMil^iJM' 


71 


Here  the  three  bars  "allegro-assai"  which  precede  the 
"allegretto",  are  beaten  in  simple  two-time,  as  usual.  At 
the  moment  when  the  "allegretto"  begins,  the  bar  of  which 
is  double  that  of  the  preceding,  and  of  the  one  maintained 
by  the  violas,  the  conductor  marks  "two  divided  beats"  for 
the  long  bar,  by  two  equal  gestures  down,  and  two  others  up. 

The  two  large  gestures  divide  the  long  bar  in  half,  and 
explain  its  value  to  the  hautboys,  without  perplexing  the  vio- 
las, who  maintain  the  brisk  movement,  on  account  of  the 
little  gesture   which  also  divides    in  half  their  short  bar. 

From   bar  No.  3,  the    conductor    ceases   to  divide  thus    the 

long  bar  by  four,  on  account   of  the   triple  rhythm  of  the  mel- 
6/ 

ody  in  '8,  with  which  this  gesture  interferes.  He  then  con  - 
fines  himself  to  marking  the  two  beats  of  the  long  bar,  and 
the  violas  already  launched  in  their  rapid  rhythm  continue 
it  without  difficulty,  comprehending  exactly  that  each  down- 
ward stroke  of  the  conductor's  stick  marks  merely  the 
commencement   of  their  short    bar. 

And  this  last  observation  exhibits  the  necessity  of  great 
care  in  dividing  the  beats  of  the  bar,  when  a  portion  of  the 
instruments  or  voices  come  to  execute  triplets  upon  these 
beats.  This  division,  by  cutting  in  half  the  second  note,  of 
the  triplet,  would  render  its  execution  uncertain.lt  is  neces- 
sary even  to  abstain  from  this  division  of  the  beats  of  a 
bar  into  two,  just  before  the  movement  when  the  rhythmical 
or  melodic  design  is  about  to  be  divided  by  three;  in  order 
not  to  give    previously   to    the    players,  the   impression  of    a 


21788- 


72 


rhythm    contrary  to    that    which    they    are   going-  to  hear  given. 


Subdivide   the    first  (1)    and    fourth  (4 1     measures  into 

six  beats    and   beat   measures  2  and  3  with   straight     4  time. 


Adagio 


N?3 


N?4 


# 


•  rTr  r 


P 


We  will  now  speak  of  the  conductor's  method  of  beat  - 
ing,  in  recitatives.  Here  as  the  singer  or  instrumentalist  is 
reciting,  and  being  no  longer  subject  to  the  regular  division 
of  the  bar,  it  is  requisite,  while  following  him  attentively,  to 
make  the  orchestra  strike  with  precision,  and  together,  the 
chords  or  instrumental  passages,  with  which  the  recitative  is 
intermingled;  and  to  make  the  change  in  harmony  occur  at 
the  proper  instant.  When  the  recitative  is  accompanied 
either  by  sustained  tones  or  tremolo  and  a  change  of  harmony 


73 


occurs   in   some    of  the   voices,    the  conductor    must  give 
special    attention  to   these  voices. 


In      this      example,     the     conductor,      while 

following  the  recitative,  has  especially  to  attend  to 
the  viola  part,-  and  to  make  it  move,  at  the  proper  mo  - 
ment,  between  the  first  and  second  beat,  from  the  F  to 
the  "E"  at  the  commencement  of  the  second  bar,-  without 
which,  as  this  part  is  executed  by  several  instrumental  - 
ists  playing  in  unison,  some  of  them  would  hold  the  F' 
longer  than  the  others,  and  a  transient  discord  be  thence 
produced. 

Many  conductors  have  the  habit,  when  directing  the 
orchestra  in  recitatives,  of  paying  no  heed  to  the  written 
division  of  the  bar;  and  of  marking  an  up-beat  before  a 
brief  chord  occurs  which  the  orchestra  has  to  strike, 
even  when  this  chord  occurs  on  an  unaccented  part  of  the 
bar:  - 


^ 


$ 


Par  -    lez! 


^=y 


I 


*E=E 


21788 


"4 


In  a  passage  such  as  this,  they  raise  the  arm  at  the  rest 
which  commences  the  bar,  and  lower  it  at  the  time  of  the 
chord. 

I  cannot   approve   of  such  a   method,  which  nothing  justi  - 
fies,  and  which    may  frequently  occasion    accidents  in  the  ex- 
ecution. 1  do  not   see    why,  either,  in  recitatives,  the  bar  should 
no  longer   be  divided  regularly,  and  the   real  beats  be  marked 
in  their  place,   as  is  music  that  is  kept  time  to.    I     therefore 
advise  -  for    the  preceding  example    that   the  first  beats  should 
be    made  down,  as  usual,  and  the   stick  carried  to  the     left, 
for  striking  the    chord  upon   the  second  beat;  and*  so  on,    for 
other  analogous    cases;    always   dividing  the   bar  regularly.    It 
is  very  important,  moreover,      to  divide  it  according   to     the 
time    previously  indicated    by  the  author;  and    not  to  forget, 
if  this  time  be  "allegro    or  maestoso,'  and  if  the  reciting  part 
has      been  sometime    reciting,  unaccompanied,    to  give  to  all 
the   beats,  when  the    orchestra  comes  in  again,  the  value     of 
those    of  an  allegro    or    of  a  maestoso.    For   when  the  orches- 
tra plays    alone,     it    generally  plays  in  time,    it  plays  with- 
out   measured    time    only   when   it   accompanies    a  voice     or 
instrument    in  recitative. 

In  the  exceptional  case  where  the  recitative  is  written 
for  the  orchestra  itself,  or  for  the  chorus,  or  for  a  portion 
of  either  orchestra  or  chorus,  as  it  is  requisite  to  keep  to- 
gether, whether  in  unison,  or  in  harmony,  but  without  reg- 
ular time-,  a*  certain  number  of  performers,  then  it  is  the 
conductor  himself  who  becomes  the  real  reciter  and  who 
gives  to  each  beat  of  the  bar  the  duration  he  judges  fit. 
According  to  the   form    of   the    phrase,  he  now  divides    and 


75 


subdivides  the  beats,  now  marks  the  accents, now  the  semi- 
quavers if  there  be  any;  and,  in  short,  indicates  with  his 
stick  the    melodic     form    of  the   recitative. 

It  is  an  understood  thing,  that  the  performers,  know- 
ing their  parts  almost  by  heart,  keep  their  eye  constantly 
upon  him;  otherwise,  neither  security  nor  unity  can  be  ob- 
tained. 

In  general,  even  for  timed  music,  the  conductor  should 
require  the  players  he  directs,  to  look  towards  him  as  of- 
ten  as    possible. 

An  orchestra  which  does  not  watch  the  conductor's 
stick,  has  no  conductor'.'  Often,  after  a  pause  or  hold  for 
instance,  the  conductor  is  obliged  to  refrain  from  mark- 
ing the  decisive  gesture  which  is  to  determine  the  com  - 
ing  in  of  the  orchestra  until  he  sees  the  eyes  of  all  the 
performers  fixed  upon  him.  It  is  the  duty  of  the  conductor, 
during  rehearsal,  to  accustom  them  to  look  towards  him 
simultaneously    at   the   important    moment. 


Mi  ■  r     r  r-r=i 


pfa 


// 


If.  in    the    above    bar,  of   which    the    first    beat,  may     In- 
prolonged     indefinitely,  the    rule    were    not   observed      that 


31788 


76 


I  have  just    indicated,  the  passage 


could  not  be  uttered  with  firmness  and  unity;  the  players, not 
watching  the  conductor's  stick,  could  not  know  where  he 
decides  the  second  beat,  and  resumes  the  movement  sus  - 
pended    by  the   pause    or    hold. 

This  obligation  for  the  performers  to  look  at  their  con- 
ductor, necessarily  implies  an  equal  obligation  on  his  part 
to  let  himself  be  well  seen  by  them.  He  should,  whatever 
may  be  the  disposal  of  the  orchestra, whether  on  rows  of 
steps,  or  on  horizontal  plane,  place  himself  so  as  to  form 
the   centre    of    all    surrounding   eyes. 

A  conductor  requires  an  especial  platform,  elevated  in  pro- 
portion to  the  number  of  performers.  His  desk  should  not 
be  so  high,  that  the  portion  holding  the  score  shall 
hide  his  face.  The  expression  of  his  countenance  has 
much  to.  do  with  the  influence  he  exercises;  and  if  the 
orchestra  does  not  watch,  or  can  not  see  the  conductor, 
it  is  virtually  without    one. 


Hector  Berlioz      "Treatise  on  Conducting" 


77 


ON    THE     CONDUCTING   OF  WALTZES 

(  Strauss   and  Waldtenfel ) 
To   begin   with,  a  dividing  line    must  be  drawn   between     a 
waltz  played  for  dancing  and  the  concert  waltz.   The     former 
ns  performed   in  a  regular  rhythmic    manner  everywhere,  except 
in  Vienna  and    South   America,  where  the  dancers  are  accus  - 
tomed  to  little  freedoms  of  tempo.  There  is  so  much  really  good 
music   written  in  this   form,  that  it  is  a  pity  to  hear      waltzes 
'ground  out' in  the  reprehensible   one -beat -in-a-measure   style 
of  so  many  of  our  Military  Band-masters.  Portions  of  Strauss 
Artists    Life    Waltzes    are  given   in  the    following     examples, 
which   also   contain  various    modes  of  beating  waltz  time     to 
conform   with  the    spirit  of  the  music. 

There  are  so  many  ways  of  conducting  waltz  time.  Some 
conductors  beat  all  the  beats,  others  again, only  one  beat  to 
the  measure.  Analysis  of  some  of  the  methods  of  the  great 
conductors  who  have  not  disdained  to  play  the  waltzes  of  com- 
posers like  Waldteufel  or  Johann  Strauss, has  lead  us  to  believe 
that  the  three  styles  of  conducting  explained  in  the  following  di- 
agrams are   the    ones    most    generally  used. 

A  -  The  one-beat-in -a- measure  style    for  passages  of  flow- 
ing   melody    and    great    verve. 

In  order  to  avoid    a     monotony  of  motion,  it  is  best  to  start 
the  down- beats  of  each    measure,  alternately  from  the  left     and 
the  right. The  dotted  line  in  the  diagram  indicates  the  reflex     or 
rebound  movement,  which   brings  the  hand  and  arm  in  a  posi   - 
tion  to   start  the   next    beat. 


DIAGRAM  N91  (Style  1) 


(A)  Starting   the  heat  from  left 
to  right. 

A 


.  v,    -Tr 


(/})  Starting  the  heat    from  the 
v i  gh t . 

#& 

*  c-  < 

H. 

<  v  \ 
3- 


21788 


78 


SUBDIVISION  OF   ONE- IN  -  A- ME  ASURE 

B-  Following-  the   heavy  down  beat  of  the  measure, the  se  - 
cond  beat   will  be  indicated  by  a  sharp  sideward   wrist  move  - 
ment  and  in  lieu  of  the  third  beat,  the  hand  and    arm  will   be 
drawn   up  to  the  original  position    in  a  more  relaxed  manner. 

DIAGRAM  N9  2  (Style  2) 

U  and 


2> 


-£*U 


Light  and  delicate  /hythmic  figures  are  best  indicated    by 
this   method. 

C  -The  third  method  is  the  regular  gesture  used  in  any     '4 
or   '8  time  and    indicates   each  beat. 


DIAGRAM  N°  3  (Style  S) 


Same  as  v4  iime 


In  the  following  extract    from    Artists'    Life    Waltz       by 
Strauss,  the  three    different   styles    are   applied.  The  various 
strains  and    the    manner  of  beating  each  measure,  are  indi  - 
cated   by  the    Roman   Numerals    which   correspond  to  the 
diagrams. 


I  . 

II  . 

III  . 


Diagram  1 
Diagram  2 
Diagram  3 


79 


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81 


Appendix 


A.  The    Bandleader   as    Instructor    of  his 
Band. 

B.  A    few  hints   on    rehearsing 


21788- 


82 


APPENDIX 


THE    BANDLEADER    AS     INSTRUCTOR 
OF     HIS    UNIT 

To   any   one,    who   has    had   any  experience   with   existing 
conditions    in  the    American    Army    Bands,    the    difficulty 
of  the    problem    of   training    and    instructing  the  unit,       is 
most    apparent.       Very,   very  few  bandleaders  are  fortunate 
enough   to   have    a    band    completely   equipped  with  efficient 
and  experienced    players.      There   are   always  those  players 
who,    altho    more    or  less  guided    by  good  will,  are  in  great 
need   of   instruction    and   assistance.     It   may  be   truthfully 
said,    that    the   standard    of  a  band   is   as  much  influenced 
by   its    weakest    member  as    by  the    efforts  of  the  most  skill- 
ful.      The    efforts   of  the   conscientious   Bandleader    should 
be    constantly    directed    towards  the  strengthening  of    these 
weaker   elements,  and   he  must   make   every  effort  to  estab- 
lish  a  scheme    of  study  and  instruction  that  will  lend  them 
all   possible   assistance. 


THE    TRAINING    OF    THE    INDIVIDUAL 

Assuming  that  the  Bandleader  has  a  theoretical  know  - 
ledge  of  all  wind  instruments  and  at  least  one  good  player 
for  each  group  of  instruments,  there  is  no  reason  why  a 
system  of  individual  instruction  can  not  be  organized  that 
would  not  only  be  a  means  of  obtaining  a  splendid  band, 
but  also  of  inducing  talented  and  desirable  young  men  to 
enter   the    service. 


83 


These    embryo  players  should  be  given    either       Cornets 
(Trumpets)    or   Clarinets,   as  the  mastery  to  a  certain  degree, 
of  these   instruments  enables   them  later,  to  adapt  themselves 
to   other  brass   or  reed   instruments. 

Instruction   should  include.-—  Elements  of  music —      The 
general  technique  of  the  instrument    (fingering,     production 
of  tone,   breathing,  and  articulation),   mastery  of  all  scales 
and  arpeggios,   standard  exercises,  and  the  repertoire  of  march- 
ing and   concert  pieces  used   by  the   band. 

These  player  —  students  should  receive  at  least  two  les  - 
sons    weekly  and  the  head  of  the  section  should  be  held  di   - 
rectly    responsible    for  the  amount  of  practice  and  study  re- 
quired  of  them. 

The  playing  of  duets,      trios,  and  quartets  with   more  ex- 
perienced players  is  an  excellent   means  of  encouraging    and 
promoting  the  progress  of  these  weaker  players.      It  not  only 
awakens  ambition   but  affords  also   a  profitable  relaxation. 


THE   TRAINING  OF  THE   BAND  AS  A   UNIT 

In  professional  bands  and  orchestras,  the  rehearsal  means 
merely  the  study  and  mastery  of  some  composition.  Every 
player  is  supposed  to  have  done  his  daily  practice  and  to 
have  mastered  the  technic  of  his  instrumu  nt.  In  other  words 
he  is  fully  prepared  to  grant  the  wishes  of  the  conductor  and 
composer. 

In  the  average  military  band  this  condition  does  not  exist 
and  much  time  must  be  spent  in  preparing  the  players  for  the 
difficulties  to  be  encountered  in  any  standard  repertoire. 

21788- 


84 


Not  only  this,  but  also  the  problem  of  promoting  their  tech  - 
nical  proficiency  is  a  problem  that  must  ever  be  before  the 
bandleaders. 

There  are  a  number  of  excellent  works  published  for  the 
instruction  and  practice  of  the  entire  band.  An  hour  a  day 
devoted  to  the  study  of  these  cannot  but  help  to  develop  the 
greatest  proficiency  amongthe  individual  players  and  a  clear 
and  clean-cut  ensemble. 

From  time  immemorial,  we  have  heard  of  the  efficacy  of 
practicing  long  sustained  tones.  Certainly  there  is  no  better 
method  of  acquiring  a  powerful  embouchure  lip  and  breath 
control  than  by  this  method,  but  again,  nothing  is  so  tiresome 
to  the  average  student.  The  writer  has  experimented  with 
many  methods  regarding  long  tones  and  finds  that  there  is 
no  better  way  than  the  practice  of  ancient  4  part  Chorals. 
The  American  publishing  house  of  Carl  Fischer  (New  York) 
has  published  a  series  of  Choral  arrangements  which  are  en- 
ormously effective  for  the  study  of  sustained -tones.  They  are 
arranged   by    Laurendeau. 

These  Chorals  are  beautiful  music  and  develop  a  harm- 
onic sense  in  the  player  which  helps  him  to  play  in  tune.  For 
individual  practice,  G.  Pares  Daily  exercises  are  excellent. 
They  are  published    by    Carl    Fischer,     New  York. 

STUDY  OF  STANDARD  REPERTOIRE 

In  order  to  keep  the  interest  of  the  many  minds        which 
make  up  a  band  or  orchestra  it  is  absolutely  necessary  to  de- 
vise a  scientifically  well  arranged  plan  of  rehearsing.       It   is 


85 


not    possible    to   lay    down   any  set  and  fast  rules  for  rehears- 
ing, because  of  the  existing  divergencies  of  each  organization. 
The    Bandleader    must  study  his  men,  as  he  would  a  musical 
instrument.     He   must  know  their  strong  points  as    well       as 
their  weaknesses. He  must  also  know  their  likes  and  dislikes 
and  have  some  idea  of  their  individual  education.  By  careful 
summing  up  of  these  conclusions  he  is  then  able  to  form     some 
plan  of  attack. 
The  following  plan  of  rehearsing  has  been  generally  adapted. 

1—  Tuning,  long  tones    (Chorals)       )   one  fourth  of  rehears - 
Tongueing,    Fingering,  (Scales)  \   inS  Period. 

2—  Light   March,  Popular  piece  or  Waltz,   one  fourth  period. 

3—  Overture   or  Selection.        one   half  period. 

Playing  a   March  before  the  heavier  number    is    a      good 
stimulant  of  interest.      There  are  many  splendid  American 
and  Foriegn    Marches  that  are  well  worth  studying. 

The  following  French  Marches  are  published  by  Carl  Fischer 

Marche  Lorraine Ganne 

Marche  Russe Ganne 

L'Pere   la  Victoire  ........   Ganne 

French    National    Defile Turlet 

The  Bandleader  must  ever  keep  in  mind  that  the  prime 
function  of  his  organization  is  to  play  for  the  March.  It  is 
here,  that  the  band  is  of  its  greatest  Military  usefulness.  The 
band  is  really  the  connecting  link  between  the  soldier  and 
the  civilian  population  and  no  one  fails  to  feel  the  thrill  that 
an  enthusiastically  played  Military  march  is  capable  of  giving. 
Therefore  any  study  in  this  particular  direction  is  well  worth 
while. 

21788- 


SH 


There  are  as  many  marches  as  there  are  grains  of  sand  in 
the  sea,  but  let  it  suffice  to  say  that  there  arc-  only  a  very  few 
good  ones.  It  would  be  a  breach  of  good  taste  to  try  to  in  - 
dicate  in  these  pages  which  marches  should  or  should  not  be 
played.  Every  Bandleader  has  his  own  ideas  and  is  more  or 
less  guided  by  the  standard  of  ability  found  in  his  organiza  - 
tion.  The  same  rule  of  discretion  is  also  applicable  to  sug- 
gestions of  concert    numbers. 

It  should  be  the  constant  aim  of  the  Bandleader  to  pro  - 
mote  the  cause  of  good  music.  This  does  not  mean  that  he 
should  not  bend  occasionally  to  the  taste  of  the  masses.  If 
proper  diplomacy  is  used,  real  appreciation  for  the  good  mus- 
ic is  often  aroused  by  quietly  slipping  in  a  well  performed 
composition  of  real  merit  between  the  more  popular  tunes  of 
the   minute. 

A  few  books  on  certain  subjects  should  be  in  every  band  library. 

The  following  list  includes  those  which  are  of  the  greatest 
value  for  both  the  leader  and  his  players. 

1  —    Groves,    Musical    Dictionary. 

2  —    Clappe,    The  Bandleaders    Guide.     (Carl   Fischer) 

3  —    Clappe,    The    Windband  and  its   Instruments.     (Holt) 

4-  Miller,      The    Military   Band.      (Novello) 

5-  Safranek,     Complete  instructive   manual  for  the    trumpet 

and    Drum.      (Carl   Fischer) 

6-  Goldman,      The   Amateur   Band    Guide.     (Carl   Fischer) 

7-  Lake,    The     American     Band     Arranger. (Carl    Fischer) 

8~    Clappe,     Principles  of  Wind -Band  Transcription  .(Carl  Fischer) 
These   works   may  be  secured  through  the  publishing  house  of 
Carl    Fischer,    New  York. 


87 


A  FEW   HINTS    ON    REHEARSING 

1  Treat  each  player  as  a  man    and   gentleman. 

2  Be  absolutely  relentless  in  the  endeavor  to  obtain  good 
intonation,  refined  quality  of  tone,  accurate  time  values,  dy  - 
namic   marks   and   correct    phrasing. 

3  In  the  first  portion  of  the  rehearsal,  stop  and  correct 
every  mistake,  even  those  due  to  slips  in  tongueing.  This 
establishes  a  sense  of  musical  discipline  quicker  than  any 
other  method  and  the  rest  of  the  rehearsal  goes  as  smoothly 
as  oil. 

4  Be  consistent.  Do  not  ask  or  tell  a  man  to  do  one  thing 
one  day  and  another  on  another  day.  Be  sure  of  what  you 
want   before   asking  for  it. 

5  Explain  your  method  of  conducting  complicated  pass- 
ages so  as  to  leave  no  one  in  the  dark  as  to  your  intentions. 

6  Insist    upon   absolute   quiet   and  attention    from      every 
one  when   any  one  section  or  stand  is  being  rehearsed . 

7  Explain  the  relation  of  one  part  to  the  other. frequent- 
ly ask  various  players  to  come  to  the  front  of  the  band  to 
listen  to  the  effect  of  the  whole.  Drummers  and  Bass  play- 
ers   should    do    this    most    often. 


21788 


88 


8  Do  not  indulge  in  unnecessary   verbiage .  Nothing      is 
more    hateful   to  the   average   player. 

9  Take  the  band  into  your  confidence.  Do  not  be  ashamed 
to  let   them   know  how    much    you  depend    on    them.  Do     not 
ever   forget   that  the    band   is  the  instrument    of  the     leader 
and   that  every  instrument    must   receive   proper  care      and 
treatment,  else    it  gives    no    response. 

10  Do  not    forget  your   sense   of  humor.  A  good       joke 
often   clears  the    most  dense    rehearsal    room  atmosphere. 


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Amateui 

A  ref< 

and  mai 

The  Bai 

A  com 
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Band  T 

Practii 
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English  euuiun.     ■hh^^m^ 

Books  of  Additional  Exercises  to  the  Manual  of  Harmony.  .  ..A.  Richter 
Key  to  the  Exercises  by   Oscar  Coon 

Text  Book  for  the  Study  of  Harmony   H.  Weber 

A  concise,  practical  and  very  useful  text  book.     Excellent  for  self-instruction. 

Composition  Marx -Mendelssohn 

A  complete  treatise  on'  harmony  by  one  of  the  greatest  German  authorities. 
Admirable  English  edition. 

An  Abridged  Treatise  On  Modern  Instrumentation  and  Orchestration. 

Hector  Berlioz 

The  best-known  work  on  instrumentation  in  concise  and  abridged  form. 

Technic  of  the  Baton Albert  Stoessel 

An  invaluable  aid  to  the  bandsman  who  is  ambitious  to  lead  as  well  as  play, 
written  by  the  head  of  the  Bandmasters'  College  at  Chaumont,  France,  where 
most  of  tne  band  leaders  of  the  American  Army  received  instruction. 

Principles  of  Wind  Band  Transcription    A.  A.  Clappi 

A  serious  instructive  work  for  the  student  of  arranging  with  especial  reference 
to  the  requirements  of  the  band. 


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nstruction 

A.  Clappi 

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nizations. 

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Arranging 

)scar  Coon 

.aurendeau 
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UCLA  -  Music  Library 

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